Word: mondrian
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...flutters of frustration that never approach the level of anxiety, let alone threaten him with breakdown. He and the people he encounters are scarcely less abstract than their settings, juiceless and lifeless. Going to a Tati movie for laughs is about as practical as going to an exhibition of Mondrian paintings with the same goal in mind, though the painter may actually excel the actor in terms of motion and emotion. · Richard Schickel
Light in Parenthesis. Formal and rational as a Mondrian, Palladio's planning is mathematics made concrete, a triumph of that certezza that was the goal of high Renaissance planning. When arguing that the ideal church plan should be circular-"the most proper figure to show the unity, infinite essence, uniformity and justice of God"-Palladio echoed a longstanding Renaissance fascination with absolute geometric shapes as metaphor. His purism was extreme. It is strange, for instance, to find an architect in 16th century Venice, a contemporary of Veronese (who frescoed the Barbaro villa), objecting to murals in churches-"Among...
...from the righthand side of the picture. The distinctness of these evenly-spaced bars of dark and light anticipates the immaculate surface of hard-edge pointing in the 50s and 60s. His later "Basque Façade" (France 1951) shows an obxious knowledge of the work of artist Piet Mondrian who was painting clear-cut balanced grids scattered with blocks of solid...
Died. Fritz Glarner, 73, Swiss-born artist whose "relational painting" derived from the style of Piet Mondrian; of a stroke; in Locarno, Switzerland. A disciple of Mondrian in Paris during the '20s, Glarner moved to the U.S. in 1936 and set about developing his own identity as a painter and muralist. Though he retained the stark primary colors used by his mentor, Glarner skewed the Mondrian rectangles in an attempt to make his work seem less static. He spent three decades in the U.S., then returned to Switzerland six years ago after being critically injured on the liner Michelangelo...
...contrast to his demonic refinement-exuberantly gross. A work like June Leafs Ascension of Pig Lady, of which Woman-Theater, 1968, is a detail, is as nearly without formal interest as a work of art can be. Lush, coarse and obesely theatrical, it makes Red Grooms look like Mondrian. Gladys Nilsson's punningly titled Baroquen Oats (broken oats? baroque notes?) is a joyful orgy of animal, or at least four-legged, shapes, tumbling over and around one another: the debt to late Dubuffet is obvious, but the sense of an all-American Walpurgisnacht is Nilsson...